American - Musician | September 11, 1965 -
I was on food stamps until I was 18 and became an adult.
Moby
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The way I work on music is that I go into my studio, and I start playing music, and I see what happens, and... I never think about it.
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I did a cover of the James Bond theme, and I felt like such a fraud, because the original is so good.
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NASA is an utterly fascinating place, and the fact that the buildings look so anonymous almost makes it more fascinating. You walk by a generic office-park-looking building, and you have no idea what's going on inside.
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I've worked with all sorts of random people - everybody from Metallica to Britney Spears to Ozzy Osbourne to Michael Jackson to the Beastie Boys. I've got a really strange CV. It's interesting - I work with a lot of these disparate, different people to learn what it's like to work with random people.
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If there is true evil in the world - it is Republican conservatives.
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Actually, the most entitled people I've met are indie rockers and indie actors, because they really believe their press.
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In the long, nonillustrious history of white people pilfering African American culture, have I just perpetrated that? I'm motivated by a love for the music and by a love of the performances, and I really hope I haven't done anything bad.
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I like noise. It's always puzzled me why one of the goals of contemporary recording is to get rid of noise and to eliminate any element of a performance.
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In some of the greatest recordings ever made, the performance is a part of the recording. Dylan's 'Rainy Day Women No. 12 and 35' is all about the esthetic of that performance. You can hear the room.
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A lot of times good, pristine recordings prevent the listener from getting emotionally involved in the music.
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If you're inclined to dismiss L.A. as a place of unrelenting vapidity and generic 1980s architecture, then you're doing yourself and L.A. a huge disservice, and you're just not looking hard enough.
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